we're going to go beyond the brush tool into the Grady Int and the Grady. It you'll notice, has exactly the same tools in it. So it's just like it's. So if you've learned how to use the brush tool, you will also know how to use the Grady int tool. The only difference is that instead of brushing something in, you are creating ingredients. So I'm gonna grab up here and drag down, And I've just created a Grady int that 100% way up here at the top. That's 100% of whatever I'm doing and at the bottom is 0%. And Aiken grab on the middle and twisted around, I can expand it. Oops, I can expand it by grabbing the bottom line and expanding it, or I can move it and bring it in closer and further out. So now what I'm gonna do is I'm just gonna take this and bring in the highlights and bring the shadows. So I'm closing, getting in a little bit darker right there, and then I could do the same thing here and drag another one and notice that the second when I'm dragging, has the same settings is the 1...
st 1 So it's actually quite easy to just grab a number of these and just drag him in and create kind of a natural vignette. And speaking of natural vignettes, if I go beyond the Grady Int tool and I go to the radial filter tool, I can do the same thing. But just with a radio filter. So I'm gonna bring the exposure way down so you can see this. I'm gonna click on this and drag, and you can see how it's burning her face. But if I go and invert it so there's a little tool right here under the main Grady in effects. I can click on Invert, and now it's Everything outside of that circle is being affected and I can change the feather so there's no feather or a lot of feather, and then I could just take the exposure back out, and I can kind of just play with it. And actually, what I want toe happen is I wanted to have a little bit less contrast out there and maybe even a little less saturation. Um, and I want to take the clarity and not the clarity the D A's down, so I actually see I'm kind of lightening it up and making it a little bit foggy out there, So that's pretty cool. And I can then move this around until I have this centered exactly where I want it. And now I've done something completely different by creating a natural, uh, vignette. But it's a light vignette. Um, and I've done that with the radial filter. So if you get to know the controls inside of the brush and the Grady Int and the radio filter, they're all the same. The only difference is that inside of the radio filter or the Grady int, there's also an option to brush so you can go up to the top here, Um, right next to where you chose the radio grading and there's a brush option. You click on that brush option. You can then take a brush, and you can either add to the effect so I can kind of pain in these areas that weren't affected by the brush or I can erase from that area. So I'm erasing out the effect right here that's closer to the camera, and I'm that way. It's not hitting her hair, and it's not hitting her skin. So I now have mawr oven amoebic shape of If I hover over, see how I've got. It's not just a circular shape, it's actually exactly the way I want it to be. But I did the bulk of it with a Grady int or a radio grade in or the brush itself. So if you use these target, order these local adjustment settings, you can do a lot to your photograph and never even have to go to photo shop because you have the ability to not only do the global work inside of light room desktop, but you can also do that stuff burning and dodging and and a little bit of skins moving with the local adjustment brushes.